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£72.00
Easy Peasy - Suite in Five Movements - Hilde Hoyvik Dahl
This suite is written for beginning band at grade level 1. It consists of five short movements of various style. You may perform the movements as single pieces. The composition consist basically of three voices to make it playable also for smaller ensembles.However, it's preferable that trumpet/cornets play part no. 1 and clarinets play part no. 2 when necessary.
Estimated dispatch 7-14 working days
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£72.00
Sa ta mitt hjerte - Moldestad-Ditlevsen - Idar Torskangerpoll
This is a tune by Sigrid Moldestad (b. 1972), a Norwegian folk artist. She has based it on a warm and beautiful poem by Danish author Tove Ditlefsen. A text for and about love.Sigrid Moldestad won the "Spellemannsprisen" (the Norwegian equivalent to Grammy) in 2005 as a part of the group Gamaltnymalt. She won the price two years later, this time as solo artist for the record album Taus. Both times in the Folk Music category.So Take My Heart was released in 2012 as a part of the album Himlen har sove bort morkret.
Estimated dispatch 7-14 working days
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£67.00
En bitte liten funklende stjerne - Numme-Borg - Oystein S. Heimdal
This song written by Yngvar Numme and Benny Borg was made popular by Norwegian group Dizzie Tunes on one of their Christmas-albums.This arrangement is based on the Dizzie Tunes version and features the original solo for trumpet or cornet.The Drum Set part is optional so one can perform the arrangement without this part.
Estimated dispatch 7-14 working days
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£34.95
SOUTHERN CROSS, The (Brass Band Set) - Brian Bowen
The Southern Cross is one of several excellent marches by Brian Bowen in which he carried on the more sophisticated pattern of British marches by Wilfred Heaton, Leslie Condon and Ray Steadman-Allen. It was written for the Box Hill (Australia) Corps jubilee celebrations in 1970 and formed part of the band's repertoire when it toured Great Britain in the same year. The first half of the march features part of the song, 'March on!' by Klaus Ostby, an early pioneer of Salvation Army music in Scandinavia. The contrapuntal layering of melodies in the trio, especially in the finale where 'March on!' sounds one more triumphant time, is notable, as is the shift to a slower, more stately tempo. The harmonic and rhythmic style also represents the more modern sounds of Salvation Army brass band music in the late 1960s and early 1970s. Right from the opening gestures, listeners at early performances knew that a page had turned in the evolution of the Salvation Army march.
Estimated dispatch 7-14 working days
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£95.00King Lear (Brass Band - Score and Parts) - Bantock, Granville - Hindmarsh, Paul
Sir Granville Bantock (1868 - 1946) composed the second of his five major brass band work for Callender's Cableworks Band, completing the commission on 30 November 1932. Based in the Thames-side district of Belvedere near Erith, the band was active between 1898 and 1961. The works band of the Callender Cable & Construction Co. Ltd, it was at the peak of its popularity during the 1930s and was a frequent broadcaster on the radio. The band employed an in-house arranger and played saxophones in its lighter material. King Lear was one of the band's major commissions and was not published in Bantock's lifetime. The manuscript score and parts were thought to be lost for decades, but were found in the library of the Haydock Band (Lancashire), which had inherited part of Callender's library of manuscripts material and bespoke arrangements after it has been transferred to nearby Prescott Cables Band after Callender's Cable Works closed.King Lear is a substantial work, in essence a dramatic tone poem in the romantic Tchaikovskian manner, presenting a series of character portraits of the foolish old king and his three daughters, Goneril, Regan and Cordelia. The music is dramatic and lyrical by turns, with the most generous lyrical episode revealing perhaps the warm-hearted Cordelia. An expansive melody that flows from this is brought back towards the end as the main climax of the work.In 2001, Bantock's score was recorded by the University of Salford Brass Band, conducted by Dr. Roy Newsome. The original is serviceable, but in comparison with the orchestral version he made in 1936 (part of which was recorded on a Paxton 78 rpm) and later brass band scores, performing editions of which were prepared by others, it lacks colour and range typical of Bantock's orchestral work. Above all it lacks percussion, which can be heard on the recorded extract. With the kind permission of the Bantock Estate, I have prepared a performing edition for publication that incorporates percussion, derived from the orchestral recording and added editorially in similar manner elsewhere. I have revoiced some of the low- lying instrumental parts to present the material in more comfortable ranges. Editorial interventions more elaborate than revoicing the original text have been identified as cue notes.- Paul HindmarshDuration: 15.00
Estimated dispatch 7-14 working days
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£40.00
King Lear (Brass Band - Score only) - Bantock, Granville - Hindmarsh, Paul
Sir Granville Bantock (1868 - 1946) composed the second of his five major brass band work for Callender's Cableworks Band, completing the commission on 30 November 1932. Based in the Thames-side district of Belvedere near Erith, the band was active between 1898 and 1961. The works band of the Callender Cable & Construction Co. Ltd, it was at the peak of its popularity during the 1930s and was a frequent broadcaster on the radio. The band employed an in-house arranger and played saxophones in its lighter material. King Lear was one of the band's major commissions and was not published in Bantock's lifetime. The manuscript score and parts were thought to be lost for decades, but were found in the library of the Haydock Band (Lancashire), which had inherited part of Callender's library of manuscripts material and bespoke arrangements after it has been transferred to nearby Prescott Cables Band after Callender's Cable Works closed.King Lear is a substantial work, in essence a dramatic tone poem in the romantic Tchaikovskian manner, presenting a series of character portraits of the foolish old king and his three daughters, Goneril, Regan and Cordelia. The music is dramatic and lyrical by turns, with the most generous lyrical episode revealing perhaps the warm-hearted Cordelia. An expansive melody that flows from this is brought back towards the end as the main climax of the work.In 2001, Bantock's score was recorded by the University of Salford Brass Band, conducted by Dr. Roy Newsome. The original is serviceable, but in comparison with the orchestral version he made in 1936 (part of which was recorded on a Paxton 78 rpm) and later brass band scores, performing editions of which were prepared by others, it lacks colour and range typical of Bantock's orchestral work. Above all it lacks percussion, which can be heard on the recorded extract. With the kind permission of the Bantock Estate, I have prepared a performing edition for publication that incorporates percussion, derived from the orchestral recording and added editorially in similar manner elsewhere. I have revoiced some of the low- lying instrumental parts to present the material in more comfortable ranges. Editorial interventions more elaborate than revoicing the original text have been identified as cue notes.- Paul HindmarshDuration: 15.00
Estimated dispatch 7-14 working days
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£118.99I Shall Love But Thee (Vocal Solo (Soprano) with Brass Band - Score and Parts) - Van der Roost, Jan
I Shall Love But Thee is an occasional work in the literal sense of the word, since it was originally written on the occasion of the composer's youngest son's wedding. The texts, by William Shakespeare, inspired Jan Van der Roost to compose profound and appealing music, largely in the style of Henry Purcell (in the first part) and Georg Friedrich Handel (in the second part)--although no literal quotations have been used. The rather rare combination of soprano and brass band makes this piece a unique addition to the repertoire!Duration: 10.30
Estimated dispatch 7-14 working days
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£79.95Corineus (Brass Band - Score and Parts) - Bond, Christopher
Regionals 2024 - 3rd Section test piecePremiered by Cory Band at the 2018 Festival of Brass, Manchester. Selected as the set-work for the Championship Section at the 2019 National Youth Championships of Great Britain.Corineus, in medieval British legend, was a prodigious warrior, a fighter of giants, and the eponymous founder of Cornwall. The first of the legendary rulers of Cornwall, he is described as a character of strength and power. It is on the medieval ruler that this new work, Corineus, is based, presented in three contrasting sections. The work opens with heraldic fanfares and a sense of jubilance before presenting musical material which changes and develops organically, portraying the journey taken by Corineus, Brutus, and the Trojans from modern-day mainland Europe to Britain. The central section of the work is slower, creating a feeling of longing. Brutus' son, Locrinus, had agreed to marry Corineus' daughter, Gwendolen, but instead fell in love with a German princess. In writing this part of the work, the composer portrays the longing of Gwendolen for her husband, knowing he is in love with somebody else. After Corineus died, Locrinus divorced Gwendolen, who responded by raising an army in Cornwall and making war against her ex-husband. Locrinus was killed in battle, and legend suggests that Gwendolen threw Locrinus' lover into the River Severn. This dramatic battle provides the inspiration for the final part of the work. In writing this work, the composer hopes to flare the imagination of young brass players around the country, in an engaging new take on a firm fixture in British folklore.Duration: 11.00
Estimated dispatch 7-14 working days
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£29.95
Corineus (Brass Band - Score only) - Bond, Christopher
Regionals 2024 - 3rd Section test piecePremiered by Cory Band at the 2018 Festival of Brass, Manchester. Selected as the set-work for the Championship Section at the 2019 National Youth Championships of Great Britain.Corineus, in medieval British legend, was a prodigious warrior, a fighter of giants, and the eponymous founder of Cornwall. The first of the legendary rulers of Cornwall, he is described as a character of strength and power. It is on the medieval ruler that this new work, Corineus, is based, presented in three contrasting sections. The work opens with heraldic fanfares and a sense of jubilance before presenting musical material which changes and develops organically, portraying the journey taken by Corineus, Brutus, and the Trojans from modern-day mainland Europe to Britain. The central section of the work is slower, creating a feeling of longing. Brutus' son, Locrinus, had agreed to marry Corineus' daughter, Gwendolen, but instead fell in love with a German princess. In writing this part of the work, the composer portrays the longing of Gwendolen for her husband, knowing he is in love with somebody else. After Corineus died, Locrinus divorced Gwendolen, who responded by raising an army in Cornwall and making war against her ex-husband. Locrinus was killed in battle, and legend suggests that Gwendolen threw Locrinus' lover into the River Severn. This dramatic battle provides the inspiration for the final part of the work. In writing this work, the composer hopes to flare the imagination of young brass players around the country, in an engaging new take on a firm fixture in British folklore.Duration: 11.00
Estimated dispatch 7-14 working days
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£34.95The Southern Cross (Brass Band - Score and Parts) - Bowen, Brian
The Southern Cross is one of several excellent marches by Brian Bowen in which he carried on the more sophisticated pattern of British marches by Wilfred Heaton, Leslie Condon and Ray Steadman-Allen. It was written for the Box Hill (Australia) Corps jubilee celebrations in 1970 and formed part of the band's repertoire when it toured Great Britain in the same year. The first half of the march features part of the song, 'March on!' by Klaus Ostby, an early pioneer of Salvation Army music in Scandinavia. The contrapuntal layering of melodies in the trio, especially in the finale where 'March on!' sounds one more triumphant time, is notable, as is the shift to a slower, more stately tempo. The harmonic and rhythmic style also represents the more modern sounds of Salvation Army brass band music in the late 1960s and early 1970s. Right from the opening gestures, listeners at early performances knew that a page had turned in the evolution of the Salvation Army march.
Estimated dispatch 7-14 working days
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